Digital. Again the confusion between portrait and portrayed.That Baldwin was a superior thinker and simultaneously a speaker of the same category - something that makes him closer to Gore Vidal and that should send people to his books and essays - does not invalidate the fact that cinematographically this film is an ugly reiteration of usual documentary modes, beginning with editing and, again, the way music is used.
There’s a lot to chew on here. The enlightening “I Am Not Your Negro” will provide you with a different perspective; it will give you a lesson about a very specific dark side of the American history, warning you at the same time that this is still happening today.
"Not everything that is faced can be changed, but nothing can be changed until it is faced. The paradox of education is precisely this-that as one begins to become conscious one begins to examine the society in which he is being educated"
Due to its restless structure similar to sober 1990s docu-essays of well-trod subject matter, I relished the few focused moments on Baldwin's life, his TV appearances and speeches, and his philosophical view of racism. A rare instance where the trailer was more emotionally stirring than the film itself.
Peck reframes the wisdom of Baldwin for a new generation. The moments that probe the portrayals in Hollywood are particularly poignant. While there may not be many new insights for audiences familiar with Baldwin's work, the documentary serves as a fitting bookend to 2016 and the normalization of apathy that he fought so vigorously.
Seen in the terrifying age of Trump, at a screening that was shockingly packed for 2 PM on a Tuesday. Its assemblage of archival material is as potent as any I've seen in a doc this year—like Baldwin himself, it's a work of both ferocious intellectual reasoning and painfully intimate passion. Saddest of all is that I doubt it or any film can change much. Neither reason nor passion from the left do much these days.
Engaging w/ a movie can sometimes be an analog for engaging w/ yr conscience. There are few more worthy reasons to make a documentary (or an essay film, which is more properly what this is). Peck's film is built out of and around two Baldwins: one of them is inarguably one of the finest writers of the 20th century; the other is a public intellectual of implacable style, wielding immense gravitas.
There's usually the irony that those who need to see a 'dangerous' cinema, are the ones least likely to see it. A dangerous cinema tells you things you didn't want to know or admit. Mostly we have comfort cinema because people perceive their lives to be difficult, and don't want to deal with those nagging questions in the back of their mind. We want superheros and good vs evil. Narcotize me before I start to think.